"Composições" - Darío Escobar

DARIO ESCOBAR . COMPOSIÇÕES 05-04-2016 a 07-05-2016

COMPOSIÇÕES

A palavra “composição” possui uma carga particular no campo das artes visuais. Alguns espectadores podem associar o termo à produção de John Cage e às pesquisas de sound art que convidam o público a uma fruição do som como elemento estético gerador de sensações e imagens mentais. Já outras pessoas acharão difícil não associar o termo a algumas das obras mais famosas de Kandinsky, dadas a partir de sua relação entre a música e a pintura e cujos resultados são considerados alguns dos primeiros exemplos da arte abstrata.

O trabalho de Darío Escobar não deriva exatamente dessas duas rápidas aproximações, mas certamente é dialógico ao desejo de compor imagens a partir da geometria, tal qual observado não só na pesquisa de Kandinsky, como também em diversos outros artistas modernistas e contemporâneos. As composições de Escobar se desenvolvem, geralmente, a partir da apropriação de objetos industriais que possibilitam atos escultóricos e instalativos. No decorrer de sua trajetória de mais de quinze anos, o artista já trabalhou em diálogo com tradições visuais tão diversas como o “barroco guatemalteco”, carcaças de carros acidentados e objetos vistos como símbolos do consumismo. Sua operação como artista se dá a partir da seleção dessas peças e reconfiguração das mesmas a partir de ações como a justaposição e repetição, fragmentação e corte de materiais sempre em reflexão sobre como instalá-los dentro do espaço expositivo.

Em “Composições”, dando prosseguimento a essa investigação, o artista apresenta trabalhos inéditos no Brasil que propõe distintas possibilidades a partir da apropriação e aproximação de elementos díspares. Nas séries “Construção geométrica” e “Construção modular”, Escobar trabalha a partir de uma tradição comumente vista na Guatemala em que os caminhoneiros pintam de modo simétrico e com forte apelo colorista as traseiras de seus veículos. O artista cria novos padrões geométricos para as estruturas de madeira advindas dos caminhões e convida o público a abri-las e criar novas configurações visuais.

O interesse em justapor objetos de materiais e usos diferentes é perceptível na série “Natureza-morta”, onde o artista explora formas de apresentar objetos advindos da indústria do esporte, como as bolas de basquete, ainda assépticos e distante do seu uso pelo corpo humano. Colocadas dentro de estruturas de madeira que acionam uma memória visual que vai do aquário à prateleira, suas circunferências desconvidam ao toque e inserem o espectador em uma relação geométrica frontal. Já em “Equilíbrio”, há uma tensão tanto do material, quanto dos elementos citados pelo artista: de um lado, as placas de metal remetem às esculturas minimalistas de Carl Andre; do outro, sustentando o seu peso, o vidro dos famosos copos americanos comercializados em São Paulo desde 1940 e já alçados a símbolos do design brasileiro. Há, portanto, uma sobreposição de Américas onde duas tradições industriais se tornam uma coisa só.

A pesquisa formal a partir da bidimensionalidade também é perceptível nas “Composições de óleo de motor”, onde, também se utilizando de um material não-convencional, Escobar explora as possibilidades do desenho. Através do uso de óleo de motor, o artista cria composições que são pequenos quebra-cabeças geométricos onde o contraste entre preto e branco se faz estrutural. O olhar do espectador passeia por essas imagens e realiza uma lenta costura entre aquilo que se apresenta materialmente sobre o papel e o espaço de imaginação para se completar os lados dessas geometrias incompletas.

Essa operação de participação do olhar e do corpo do público dá o tom da exposição.

Assim como Darío Escobar compôs esses encontros entre materiais, cores e formas, fica o convite para que os espectadores também realizem as suas próprias composições de modo ativo – seja em uma série específica de obras ou no seu cruzamento de proposições dentro da arquitetura da Casa Triângulo.

Raphael Fonseca

COMPOSIÇÕES

The word “composition” is charged with a particular meaning in the visual arts field. Some spectators may associate the term to the production of John Cage and the research of sound art which invite the public to enjoy sound as an aesthetic element that generates mental images and sensations. Other people find it difficult not to associate the term with some of the most famous works by Kandinsky, based on a relationship between music and painting, and whose results are considered some of the best examples of abstract art.

Darío Escobar’s work does not derive exactly from these two quickly drawn associations, but certainly it has to do with the desire to compose images based on geometry, as observed not only in Kandinsky’s research, but also in that of various other modernist and contemporary artists. Escobar’s compositions are generally developed on the basis of the appropriation of industrial objects that allow for the production of sculptural works and installations. Throughout his more than 15-year career, the artist has worked in dialogue with a variety of visual traditions ranging from “Guatemalan baroque”, wrecked car bodies and objects seen as symbols of consumerism. His artistic operation takes place based on the selection of these pieces and their reconfiguration through actions such as juxtaposition and repetition, fragmentation and cutting of materials always in a reflection on how they can be installed within the exhibition space.

Continuing with this investigation, in Composições [Compositions] the artist presents works being shown for the first time in Brazil, which propose different possibilities based on the appropriation and approximation of dissimilar elements. In the two series Construcción geométrica [Geometric Construction] and Construcción modular [Modular Construction], Escobar works on the basis of a tradition commonly seen in Guatemala, in which truck drivers paint their wooden truck-bed side and tailgate panels in symmetrical patterns with strong colorist appeal. The artist creates new geometric patterns for the wooden structures normally seen on trucks and invites the public to open them and create new visual configurations.

The interest in juxtaposing objects of different materials and uses is perceptible in the Still Life series, where the artist explores ways of presenting objects from the sports industry, such as basketballs, though in an aseptic way, distanced from their use by the human body. Placed within wooden structures that evoke a visual memory ranging from the aquarium to the shelf, their circumferences make them non-amenable to touch and place the spectator into a frontal geometric relationship with them. In Equilibrio [Equilibrium], there is tension arising both from the material as well as from the elements cited by the artist: on the one hand, the metal plates recall the minimalist structures of Carl Andre; on the other, supporting their weight, the glass of the iconic americano-style drinking tumblers sold in São Paulo since 1940 and now elevated to symbols of Brazilian design. There is, therefore, a superposition of Americas where two industrial traditions come together in a single piece.

Formal research based on bidimensionality is also perceptible in the Motor Oil Compositions, also made using a nonconventional material, where Escobar explores the possibilities of drawing. Through the use of motor oil, the artist creates compositions which are small geometric puzzles where the contrast between black and white become structural. The viewer’s gaze wanders through these images and gradually stitches together that which is presented materially on the paper and in the space of imagination in order to complete the two sides of these incomplete geometries.

This operation involving the participation of the gaze and body of the viewer sets the tone of this exhibition. Just as Darío Escobar composed these encounters between materials, colors and shapes, the spectators are also invited to actively make their own compositions – whether in a specific series of works or in their crossing of propositions within the architecture of Casa Triângulo.

Raphael Fonseca

Vista da exposição [exhibition view] © Edouard Fraipont

Vista da exposição [exhibition view] © Edouard Fraipont

Obverse & Reverse XXVII, 2016 latex, couro, corda, nylon e aço [latex, leather, rope, nylon and steel] 170 x 320 x 290 cm © Edouard Fraipont

Obverse & Reverse XXVII, 2016 latex, couro, corda, nylon e aço [latex, leather, rope, nylon and steel] 170 x 320 x 290 cm © Edouard Fraipont

Vista da exposição [exhibition view] © Edouard Fraipont

Composition No. 78, 2016 óleo de motor sobre papel [motor oil on paper] 143 x 39 cm

Composition No. 90, 2016 óleo de motor sobre papel [motor oil on paper] 80 x 75,5 cm

Composition No. 91, 2016 óleo de motor sobre papel [motor oil on paper] 112 x 70,5 cm

© Gustavo Sapón

© Gustavo Sapón

© Gustavo Sapón

Composition No. 92, 2016 óleo de motor sobre papel [motor oil on paper] 80 x 75,2 cm

Composition No. 93, 2016 óleo de motor sobre papel [motor oil on paper] 71 x 70,8 cm

© Gustavo Sapón

© Gustavo Sapón

Composition No. 94, 2016 óleo de motor sobre papel [motor oil on paper] 80,5 x 71 cm

Composition No. 95, 2016 óleo de motor sobre papel [motor oil on paper] 80,5 x 71 cm

© Gustavo Sapón

© Gustavo Sapón

Equilibrio No. 4, 2016 aço e vidro [steel and glass] 14 x 300 x 300 cm © Edouard Fraipont

Equilibrio No. 4, 2016 aço e vidro [steel and glass] 14 x 300 x 300 cm © Edouard Fraipont

Modular Construction No. 7, 2015 madeira, pigmentos e metal [wood, pigments and metal] 100 x 162 x 9 cm Š Edouard Fraipont

Modular Construction No. 6, 2015 madeira, pigmentos e metal [wood, pigments and metal] 100 x 162 x 9 cm Š Edouard Fraipont

Geometric Construction No. 7, 2015 madeira, pigmentos e metal [wood, pigments and metal] 178 x 312 x 121 cm Š Edouard Fraipont

Vista da exposição [exhibition view] © Edouard Fraipont

Still Life No. 4, 2014 madeira, formica e borracha [wood, formica and rubber] 38,1 x 127 x 37,9 cm 漏 Gustavo Sap贸n

Still Life No. 6, 2014 madeira, formica e borracha [wood, formica and rubber] 38,1 x 127 x 38,1 cm 漏 Gustavo Sap贸n

Still Life No. 10, 2014 madeira, formica e borracha [wood, formica and rubber] 38,1 x 127 x 38,1 cm 漏 Gustavo Sap贸n

DARIO ESCOBAR NASCEU EM [BORN IN] GUATEMALA CITY, GUATEMALA, 1971 VIVE E TRABALHA EM [LIVES AND WORKS IN] GUATEMALA CITY, GUATEMALA

EXPOSIÇÕES INDIVIDUAIS [SOLO EXHIBITIONS]

2006 Objetos en Transito, Sala Gasco, Santiago de Chile, Chile

2016 Composições, Casa Triângulo, São Paulo, Brazil

2005 Serpentario, Centro Cultural de España en Guatemala [CCEG], Guatemala City, Guatemala.

2015 En otro orden, The 9.99 gallery, Guatemala City, Guatemala

2004 Out!, Galería Jacobo Karpio, Miami, Florida, USA

2014 Unions & Intersections, Nils Stærk Gallery, Kopenhaguen, Denmark Broken circle, CAFAM Museum, Los Angeles, California, USA

2003 Espacios provisionales, Museo de Arte y Diseño Contemporáneo [MADC], San José, Costa Rica Visual Entertainments, Museo de Arte Moderno de Mérida, Merida, Mexico

2013 Pintura abstracta No. 7, González & González, Santiago de Chile, Chile Untitled, Kamel Mennour Galerie, Paris, France Dario Escobar/ Blacksmith Paintings, Josée Bienvenu Gallery, New York, USA Dario Escobar/ Línea & Espacio, ArteCentro, Guatemala City, Guatemala 2012 Dario Escobar/ La experiencia del objeto, Museo de Arte Contemporáneo de Santiago [MAC], Santiago de Chile, Chile Dario Escobar: Singular Plural, (SCAD) Museum of Art, Savannah, Georgia / (SCAD) Atlanta – Gallery 1600, Atlanta, Georgia, USA Dario Escobar - Trabajos Recientes, Baró Galeria, São Paulo/SP, Brazil 2011 Dario Escobar/ Revisión, Museo Nacional de Arte Moderno Carlos Mérida, Guatemala City, Guatemala 2010 Side and Back, Kamel Mennour Galerie, Paris, France Anverso y Reverso, González y González, Santiago de Chile, Chile 2008 Playoffs, Josee Bienvenu Gallery, New York, USA 2007 La Línea Interrumpida, Centro Cultural Metropolitano [CCM], Guatemala City, Guatemala.

Dario Escobar/Project room, Rotunda Gallery, Brooklyn, New York, USA

2001 Dario Escobar - Trabajo reciente, Galería Jocobo Karpio, San José, Costa Rica 2000 Dario Escobar: Selección, II National Biennial of Lima, Lima, Peru EXPOSIÇÕES COLETIVAS [GROUP EXHIBITIONS] 2015 10ª Bienal do Mercosul - Mensagens de Uma Nova América, curadoria de [curated by] Gaudêncio Fidelis, Márcio Tavares, Ana Zavadil, Fernando Davis, Raphael Fonseca, Ramón Castillo Inostroza e [and] Cristián G. Gallegos, Porto Alegre, Rio Grande do Sul, Brazil TRIO Bienal - Tridimensional Bienal do Rio - Quem disse que amanhã não existe?, Módulo Reverberações, curadoria de [curated by] Marcus de Lontra Costa, Instituto Europeo de Design, Rio de Janeiro/RJ, Brazil Daros Latinamerica Collection, curadoria de [curated by] Katrin Steffen e [and] Rodrigo Alonso, Fundación Proa, Buenos Aires, Argentina 5 - RPM (Revoluciones por minuto), The 9.99 gallery, Guatemala City, Guatemala Beleza?, Centro Cultural São Paulo, São Paulo/SP, Brazil 2014 Largo x Ancho x Alto, The 9.99 gallery, Guatemala City, Guatemala El día que nos hicimos contemporáneos, Museo de arte y diseño [MADC], San José, Costa Rica Gold, Bass Museum of Art, Miami, Florida, USA

Fútbol: the beautiful game, Los Angeles County Museum of Art [LACMA], Los Angeles, California, USA Deslize, Museu de Arte do Rio [MAR], Rio de Janeiro/RJ, Brazil 2013 Confusion in the vault, Museo Jumex, Mexico City, Mexico Inaugural Exhibition, The Pizzuti Collection, Columbus, Ohio, USA California-Pacific Triennial, (Orange County Museum of Art [OCMA], Newport Beach, California, USA; Coastline [CCC], Community College Art Gallery, Newport Beach, California, USA y... ¿entonces?, The 9.99 gallery, Guatemala City, Guatemala The Collaborative: Question in the line, Museum of Latin American Art [MOLAA], Long Beach, California, USA 2012 Futbol. Arte y pasión, Museo de Arte Contemporáneo de Monterrey [MARCO], Monterrey, Mexico The Island/ A game of life, Gallery One, Manarat al Saadiyat, Abu Dhabi Play with me, Museum of Latin American Art [MOLAA], Long Beach, California, USA 2011 Now, Colección Jumex, Instituto Cultural Cabañas, Guadalajara, Mexico Video otra vez, Museu de Arte Contemporânea do Ceará [MAC/CE], Fortaleza, Ceará, Brazil Proyecto ideal, Centro Cultural de Sao Paulo, São Paulo/SP, Brazil From the Recent Past: New Acquisitions, The Museum of Contemporary Art [MOCA], Los Angeles, California, USA 2010 Chapter II: Ruido, The 9.99 gallery/proyecto, Guatemala City, Guatemala Proyecto Ideal, Museo de arte Contemporáneo de Santiago [MAC], Santiago de Chile, Chile Optimismo Radical, Josee Bienvenu Gallery, New York, USA XVII Bienal de Guatemala, Centro Cultural Metropolitano [CCM], Guatemala City, Guatemala Efecto Drácula, Museo Universitario del Chopo, Mexico City, Mexico Social Affects: A selection from the permanent Collection of the David Rockefeller Center for Latin America Studies/ Hardvard University, Boston Center for the arts/Mills Gallery, Boston, Massachusetts, USA Four Views from the Permanent Collection exhibition, Museum of Latin American Art [MOLAA], Long Beach, California, USA 2009 Los impoliticos, Palazzo delle Arti Napoli [PAN], Naples, Italy 10 Springs in the fall, Kamel Mennour Gallery, Paris, France Périfériks, Centre d’art Neuchâtel [CAN], Nuchâtel, Switzerland Mundus Novus: 53 Bienal Internacional de Venecia, Artiglerie dell’Arsenale, Veneci, Italy 0.3333333333333333…, 9.99/proyecto, Guatemala City, Guatemala La nada y el ser, Colección Jumex, Ecatepec, Mexico City, Mexico Video otra vez, Metales Pesados, Santiago de Chile, Chile Performing Localities, Institute of International Visual Arts [INIVA], London, UK Décima Bienal de La Habana, Fortaleza de San Carlos de la Cabaña, Havana, Cuba

2008 La invención de lo cotidiano, Museo Nacional de Arte [MUNAL], Mexico City, Mexico Object of Value, Miami Art Central [MAC/MAM], Miami, Florida, USA Playtime, Bétonsalon/ Centre d’art et de recherche, Paris, France World Histories, Des Moines Art Center, Des Moines, Iowa, USA Visions From Abroad, Flushing Town Hall, New York, USA Elefante negro, Museo Diego Rivera, México City, Mexico 2007 Fortunate Object, Cisneros Fontanalls Art Foundations [CIFO], Miami, Florida, USA Silence & Echo, Arena 1, Santa Monica, California, USA The Hours: Visual Arts of Contemporary Latin America, Museum of Contemporary Art, Sydney, Australia Poetics of the Handmade, The Museum of Contemporary Art [MOCA], Los Angeles, California, USA 2006 El esquiador en el fondo del pozo, Colección Jumex, Ecatepec, Mexico City, Mexico Stil Biuti, Centro de Arte Contemporáneo Zamek Ujazdowski, Warsaw, Poland The Beautiful Game: Contemporary Art and Fútbol, Brooklyn Academy of Music [BAM], Brooklyn, New York, USA Constant Disturbance, The Spanish Cultural Center, Miami, Florida, USA 2005 The Hours. Visual Arts of Contemporary Latin America, Dublin Museum, Dublin, Ireland Living for the city, Jack Shainman Gallery, New York; Centre International d’Expositions de Larouche [CIEL], Toronto, Canada 2004 Newpapers, Josee Bienvenu Gallery, New York, USA 2003 Intangible, Museo de Arte y Diseño Contemporáneo [MADC], San José, Costa Rica LA Freeways: Latin America, The Museum of Contemporary Art [MOCA], Los Angeles, California; America’s Society, New York, USA RAIN Project, Pabellón Cuba, Havana, Cuba Stretch, The Power Plant, Toronto, Canada TransEAT, Food Culture Museum, Miami, Florida, USA VIII Bienal de la Habana, Centro Wifredo Lam, Havana, Cuba 2002 ARTitsmo, Museo de Arte y Diseño Contemporáneo [MADC], San José, Costa Rica Contaminados, Museo de Arte y Diseño Contemporáneo [MADC], San José, Costa Rica Del centro a la isla, Casa de las Américas, Havana, Cuba Intimate/Universal, Ateneo de Caracas, Caracas, Venezuela Mesoamérica: Oscilaciones y Artificios, Centro Atlántico de Arte Moderno [CAAM], Canary Islands, Spain

Zones in Tension, de GANG Gallery, Haarlem, North Holland 2001 Continuous Connection, Felissimo Project, New York, USA Short Stories, La Fabbrica del Vapore, Milan, Italy Spaces/Bodies/Identities, Centro Cultural de España, San José, Costa Rica 13 Hours, Sala Mendoza, Caracas, Venezuela I Tirana Biennial, National Gallery & Chinese Pavilion, Tirana, Albania IV Caribbean Biennial, Museo de Arte Moderno, Santo Domingo, Dominican Republic Barro de América, IV Biennial, Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.

2000 2eme, Biennale du Design 2000, Ecole des Beaux Arts de Saint-Etienne, Saint-Étienne, France L’art dans le monde, Pont Alexandre III, Paris, France 1999 Guatemalan Art, Sala Oficial Juan Ismael del Cabildo de Fuerteventura, Canary Island, Spain II Iberoamerican Biennial of Lima, Lima, Peru 1998 Fotojornada’98, Museo Nacional de Arte Moderno Carlos Mérida, Guatemala City, Guatemala Without Title, Plaza G&T; Guatemala City, Guatemala I Central American Biennale, Centro Cultural Miguel Angel Asturias, Guatemala City, Guatemala; Duke University Museum of Art [DUMA], North Carolina, USA VI International Art Biennale of Cuenca, Cuenca, Equator 1997 La Joven Estampa, Casa de las Américas, Havana, Cuba

COLEÇÕES PÚBLICAS [PUBLIC COLLECTIONS] Bass Museum of Art, Miami Beach, Florida, USA Blanton Museum of Art, Austin, USA Centre Pompidou, Paris, France Cisneros Fontanals Art Foundation [CIFO], Miami, USA Daros Latinamerica Collection, Zurich, Switzerland Harvard University Art Museums, Cambridge, UK La Fundación / Colección Jumex, Ecatepec, Mexico Museo de Arte Contemporáneo de Santiago do Chile [MAC], Santiago de Chile, Chile Museo de Arte y Diseño Contemporáneo [MADC], San José, Costa Rica Museo del Barrio, New York, USA Museo Nacional de Arte Moderno Carlos, Merida, Guatemala The Museum of Contemporary Art [MoCA], Los Angeles, USA Museum of Fine Arts [MFA], Boston, USA Museum of Latin American Art [MoLAA], Long Beach, California, USA The Nasher Museum of Art at Duke University, Durham, USA

The Pizzuti Collection, Columbus, Ohio, USA Sayago & Pardon, Inc., Tustin, California, USA Thyssen-Bornemisza Art Contemporary, Vienna, Austria

LIVROS [PUBLICATIONS] Astiasarán, Clara Elena Concepción. “Darío Escobar”, ArtNexus, No. 43, (January-March 2002): pp. 123-24.

Auerbach, Ruth. ARCOnoticias, No. 24, (Madrid 2002).

Bondone, Tomás. “Problematic and feverish”. ARCOnoticias, No. 23, (Spring 2002).

Brielmaier, Isolde. “Double Take: The art of Dario Escobar and Patrick Hamilton”, Exh. Cat. Objetos en Transito, Sala Gasco, Santiago de Chile, (2006): pp. 21–27.

Buckley, Annie. “Full Metal Skatebord”, Craft: No. 6, (2008) p. 17.

Burkhalter, Laura. “Turangawaewae”, Exh. Cat. “World Histories” pp. 42-45 Des Moines Art Center, Iowa, (2008).

Calvo, Enesto. “Espacios Provisionales: Sentidos difusos, significaciones equivocas”. Exh. Cat. “Serpentario” Centro Cultural de España en Guatemala, (2005): pp. 20, 26.

Cazali, Rosina. “Play offs”, Arte al Día International, No. 125, (November–December 2008): pp. 54-59.

“Ready Made Ready”, Exh. Cat.“Serpentario” Centro Cultural de España en Guatemala, (2005): pp. 20, 26.

“Darío Escobar: Fin’ amors for Objects”, ArtNexus, No. 38, (November 2000-January 2001): pp. 76-79.

“Le Guatemala: En route.” In L’art Dans le Monde. Exh. Cat. Paris, France: Beaux Arts, (2000).

“2nd Ibero-American Biennial of Lima”, ArtNexus, No. 35, (February-April 2000): pp. 92-95.

“Contemporary Art in Guatemala”, ArtNexus, No. 32, (May-July 1999): pp. 68-71.

“First Art Biennale of the Central American Isthmus,” ArtNexus, No. 31, (January-March 1999) p. 76.

“Darío Escobar, El becerro de oro”, Colloquia: Proyecto para el arte contemporáneo, n.d.

Cisneros, Dayamick. “Dessicated and Reconstituted”, Arteamérica, (January 2004).

Cummins, Thomas B.F. “At Play in the Arts of the Lord: The Early Work of Dario Escobar”, Book. A singular plurality: the works of Dario Escobar. Ed. Department of History of Art and Architecture, Harvard University. Cambridge, Massachusetts,(2012).

Damian, Carol. “Art Miami 2001”, ArtNexus, No. 40, (April-June 2001): pp. 96-98.

Díaz, Tamara. “Art in Central America: The Critical Glance”, Atlántica, No. 31, (February 2002): pp. 40-69. de Santa Ana, Mariano. “Hybrids on the Side”, Lápiz, No. 186, (September-October 2002).

Falconi, José Luis. (Editor) A singular plurality: the works of Dario Escobar. Edited by Department of History of Art and Architecture, Harvard University. Cambridge, Massachusetts, (2012).

Fajardo Hill, Cecilia. “Fortunate Objects”, Exh. Cat. Cisneros Fontanalls Art Foundation (CIFO)., (2007): pp. 66, 67.

Gallego P., Pablo. Dossier presented in Monografías, Galicia School of Architects, vol. 1: pp. 52-54.

Gallegos, Carina. “Dario Escobar”, ArtNexus, No. 55, (January-March, 2005): pp. 153-55.

Gomez Eduard M. “The Unmistakable Touch of the Hand”, Art & Antiques, (October 2007): pp. 157-160.

“Hip home for art in Mexico City”, International Herald Tribune, (April 27, 2005).

González, Lorena. “The Object´s Evil Genious”, Arte al Día News, No. 5, (2004): pp. 3-4.

Herrera, Adriana. “On Out!”, Miami Herald, (June 2004).

López Anaya, Jorge. “La fluida geografía del arte latinoamericano”, ARCOnoticias No. 23, (Spring 2002): pp. 52-54.

López Ramos, Rafael. “Objetos de Valor”, ArtNexus, No. 72 (March-May 2009) p. 137.

Loría, Vivianne. “Marginalidad y transculturación en el arte centroamericano”, Lápiz, No. 177, vol. 20, (November 2001): pp. 18-33.

“Mesoamérica: Oscilaciones y Artificios.” In Mesoamérica: Oscilaciones y Artificios. Exh. Cat.

Centro Atlántico de Arte Moderno (CAAM). Canary Islands, Spain, (2002).

“Dario Escobar: Emblems of Modern Stubbornness.” In Visual Entertainments. Exh. Cat. Museo de Arte Moderno. Mérida, México, (2003).

Navarro, Mario. “Objetos en suspención”, Sol del Río Gallery, Guatemala, Guatemala, (February 2000).

Power, Kevin. “Dario Escobar: Simulacro local y glocal”, Book. A singular plurality: the works of Dario Escobar. Ed. Department of History of Art and Architecture, Harvard University.

Cambridge, Massachusetts,(2012).

Quirós, Luis. “En la Era de la Mitotécnia”, La Nación, San José, Costa Rica, (March 2000).

Ribeaux, Ariel. “Darío Escobar: The Seductive Perversity of the Road to El Dorado (Step by Step)”, Galería Sol del Río, Guatemala, Guatemala.

Ruiz, Alma. “Interview”, Book. A singular plurality: the works of Dario Escobar. Ed. Department of History of Art and Architecture, Harvard University. Cambridge, Massachusetts,(2012).

“Donde la materia se une al mito” ArtNexus, No. 80, (March-May 2011): Cover. pp. 44-48.

“La Linea Interrumpida”, ArtMedia, No. 14, (2007): pp. 46-54. “Poetics of the Handmade” Los Angeles, (2007): pp. 76-85.

Sommer, Doris. “Choose to lose: Dario Escobar´s winning game”, Book. A singular plurality: the works of Dario Escobar. Ed. Department of History of Art and Architecture, Harvard University. Cambridge, Massachusetts,(2012).

Spinger, José Manuel, “Dario Escobar, KBK Arte Contempoáneo”, ArtNexus, No. 61, (2006): pp. 132-133.

Valdés, Emiliano. “Striking objects”, Contemporary, No. 66, (October 2004): p. 45.

“In the Labyrith of Consumptions and Creation”, Artes en Santo Domingo, Dominican Republic, (November 2004).

Valdés, Eugenio. “Stories of Alienatives (any similarities to real facts or persons are not purely coincidental).” In Short Stories: New Narrative Forms in Contemporary Art, Exh. Cat. La Fabbrica del Vapore. Milan, Italy: lalitotipo, (March 2001): pp. 41-49.

Valdés Eugenio and Keith Wallace. “Introduction”, In Stretch. Exh Cat. The Power Plant. Toronto, Canadá: press, (2003).

Viveros-Fauné, Christian. “The Sculpture of Everyday Life: Dario Escobar’s Readymade Sculptures”, Book. A singular plurality: the works of Dario Escobar. Ed. Department of History of Art and Architecture, Harvard University. Cambridge, Massachusetts,(2012).

Zamudio-Taylor, Víctor. “La forma como estrategia”, Perspectivas de arquitectura y diseño, No. 3, (March-June 2008): pp. 82- 86.

“Objetos Relacionales: Darío Escobar & Patrick Hamilton”, Revista 180, No. 18, (December 2006): pp. 6-7.

“Objetos Relacionales: Darío Escobar & Patrick Hamilton.” Exh. Cat. Sala Gasco, (2006): pp. 10-13.

Santiago de Chile, Chile.

Zaya, Antonio. “Dario Escobar”, Atlántica, No. 31, (Winter 2002): pp. 25-27.